Sophie Rzepecky





→ Fictional Journal’s Issue 03. Uncanny Open Call 





The will to automate material, be it from clay, expired flesh, marble or rubber, has long permeated the social imaginary of humans. Stories of desire and power – from Pygmalion’s awakening kiss upon the marble form of his ideal woman 1 , to Sophia the Robot modeled on Audrey Hepburn2 create a lineage of icarus-like tendencies to form autonomous intelligence from seemingly inanimate materials...

Fictional Journal’s Issue 03. Uncanny Open Call now open in collaboration with Baltan laboratories. Deadline 1st September for submissions. 













1 Soft, and more soft at ev’ry Touch it grew; Like pliant Wax, when chafing hands reduce, The former Mass to Form, and frame for use.

P. Ovidius Naso. Pygmalion and the Statuein Metamorphoses. Translation: John Dryden.

2 Sorkin, Andrew Ross. Interview With The Lifelike Hot Robot Named Sophia. 25 October, 2017, CBNC.





Selected Projects, Workshops & Articles

The Venice Times Workshop. Vardiya/ the Shift. Pavilion of Turkey, Venice Architecture Biennale 2018. In collaboration with Yelta Köm. 28 May - 2 June, 2018. 




“Can we dance limbs flailing freely scroll to the tune of our own nervous embodiment rhythm is to the beat of the code commanding behind? (...)”


Exhibition. nervous.online.
In collaboration with Flee Immediately!. 2017. 




















“Human communication is an artificial process. It relies on artistic techniques, on inventions, on tools and instruments, that is, on symbols ordered into codes (...)” 2



Vilem Flusser, What is Communication?



“In an increasingly image-based world, reading is becoming seeing. How we consume and relate to information is becoming increasingly performative, immersive and experiential. Within design practice, have aesthetics become content? (...)” 1


Project . Fictional Journal. 2016 - ongoing.  












In 1959, designers Charles and Ray Eames were commissioned by the United States Information Agency USIA to make a film about a day in the life of the United States as part of the cultural exchange between the Soviet Union and the USA. The film ‘Glimpses of the USA’was projected onto seven screens in one of Buckminster Fuller’s geodesic domes inside the Sokolniki Park in Moscow, USSR.



“Fragile Structures (...)” 


Article . Nicole Wermers, Croissants and Architecture. DAMn Magazine. 2017.



















“Value as a non-economic notion is one of the hardest concepts to tackle. Although immaterial, value is one of the core ideas that shape society, influence hearts and minds, but it defies easy definition (...)”


Image Essay. Maaike Lauwaert & Francien van Westrenen. Facing Value: Radical Perspectives from the Arts. 2017.








“A surge in immaterial labour and networks allow the potential for new pathways to develop and open up discourse around alternative methods of cultural stability...”


Project. This is Work. Fictional Collective x Depot Basel. 2015















Sophie Rzepecky is a designer and editor from Aotearoa New Zealand . With a masters in Social Design from the Design Academy Eindhoven, she has an avid interest in expanding the field of ‘design’ by connecting interdisciplinary modes of creative knowledge through publications, exhibition-making, workshops and happenings. She has worked at Witte de With Center for Contemporary Art and OMA. Currently working with Studio Tomás Saraceno. Member of Fictional Collective. Based in Berlin.

In 2016, I co-founded Fictional Journal to facilitate design responses to societal questions and issues, generating collective knowledge and debate while questioning design methodology through diverse media.

Say hello@sophierzepecky.net

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